July 2, 2022
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Editor

Post-production  / Production
8K? Take Notice Production, Producers & Creative Teams! Chris Salters Explains the Hottest Resolution Upgrade
Chris Salters Posted On October 4, 2021


Like The Notorious BIG says, mo pixels, mo problems – or something like that. 3 years ago I followed Puget Systems to the dark side, switching from “Mac or nothing” to “long live the PC”. At the time, 5K was rearing its sizable head and my (then) new system was ready to chew through it like a tub of Double Bubble. Fast forward to 2021. 8K is the new Goliath that needs slaying and the 5K-ready machine wasn’t the David it used to be. Whatcha gonna do? Upgrade.

Why 8K?

Talk about a question that doesn’t have a good answer. 8K video is basically the natural progression of bigger is better…even if it isn’t. Does 8K make video more cinematic? No. Does 8K make a video more professional? No. You can guess where I’m headed. Really, the main push for 8K video is 8K-ready TV screens. Consumers want bigger screens with more clarity. Pictures so sharp they may cut you if you touch them. The crispness of 8K video is stunning and post-production benefits from productions shot in 8K mainly for the versatility it provides. Need to reframe a shot? Fix it in post!

8K comes with its headaches though, mainly a multitude of pixels – roughly 33 million – per video frame! Without a good proxy workflow, all hope would be lost when attempting to work with 8K media. Proxies have their own inconveniences though. Most notably, they take time. The time to create and time to conform proxies slows starting an edit and getting that final delivery out the door. Having a specialized workstation with the horsepower to make proxies faster or even avoid them altogether gets clients the content they need, faster.

Mo Pixels? No Problem.

After working on a handful of projects shot in 8K in 2021, I was tired of watching Premiere Pro struggle. DaVinci fared better, but it still got the shakes when looking at those RED Helium files. Knowing it was about time for an upgrade, I went back to my friends at Puget Systems to have them build the most powerful computer my fingers have ever been lucky enough to poke and prod.

Nerd-Specs:

  • AMD Ryzen Threadripper 3960X 3.8GHz 24 Core

  • 64GB Ram

  • NVIDIA GeForce RTX 3090 24GB Founders Edition

  • Blackmagic DeckLink Mini Monitor 4K (not pictured)

  • TP-Link 10GB NIC (not pictured)

  • Storage:

  • 2x Samsung 980 1TB M.2 SSDs (primary drive + scratch disk)

  • 1x Samsung 870 4TB SSD (for dog GIFs)

Storage Wars

If there was a catch, and there usually is, it was that this pixel-chewing powerhouse didn’t include Thunderbolt 3 ports. That was more than a minor inconvenience since my media storage and cold storage raids were BOTH Thunderbolt. Whatcha gonna do? Upgrade.

Since AMD and Intel (Thunderbolt’s baby-daddy) don’t often play well together, I took a look at server-class storage using 10GB connections and opted for a Synology DS1621XS+. After plugging it full of 12TB Seagate EXOS hard drives and configuring it to RAID 10, the Synology has over 30TB of extremely fast and redundant storage.

Wait there’s more!

The Synology NAS also enables secure, encrypted, folders for job-specific projects. That means if any of my clients need to keep their footage locked up like Fort Knox, they can sleep easy while I edit their content. Taking security a step further, after the Synology’s initial setup, I removed its internet access, leaving it only connected to the new workstation via its private 10-gig connection.

Disaster Plans

With the main storage situation resolved, there was still the issue of connecting cold storage – the place recently wrapped projects live before archiving to LTO. The idea of repurposing my old media raid, the G-Speed Shuttle, seemed like a good one, but again, no Thunderbolt [shakes fist]… Whatcha gonna do? Use whatcha got.

Enter the Mac Mini I had employed the year prior for doing “Mac stuff”. It would now be a dedicated archive machine. After picking up a TB3-10GB adapter from OWC, the Mac Mini would connect to the Synology NAS by a 10Gig connection. Then just like the 8K-nuking-Puget-system, the G-Speed Shuttle would link to the Mac Mini via Thunderbolt 3. Game, set, match!

Installation Station

My mother firmly believes in making a mess to clean things up and I am very much my mother’s son. Dropping in a new server, decommissioning a raid, revamping another raid, migrating computers, and giving the desk a dusting is a messy business. With hardware arriving at different times, the process took a few weeks to complete.

The observant reader might have noticed me sporting a sling near the start of the timelapse (mountain + bike = ouch), but thankfully my doctor released me from my stylish robin-blue arm sack before the new computer arrived. Now with the new system up and running, it’s time to get back to work. So excuse me while I go cut some cool stuff.

If you need to edit in 8K or any other resolution, Chris can help.  With clients including Universal, Disney, Netflix, FedEx, Mercedes Benz, Lexus, Fox Sports, ESPN, and more, his expertise is vast and trusted.  Get to know more about Chris at his website, www.chrissalters.com.

 

 


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Production  / Video Production
charlieuniformtango Teams Up with Hold Fast Co., Bill and Todd for Johnsonville Sausage
charlieuniformtango Posted On September 29, 2021


charlieuniformtango teamed up with new Milwaukee-based agency Hold Fast Co., and newly formed creative alliance, Dallas-based “Bill and Todd” (Bill Milkereit, writer and Todd Tucker, art director – both 20+ year veterans of The Richards Group), on a new campaign for Johnsonville Sausage just in time for the southern tailgating season. The campaign, featuring a full array of TV and radio spots, introduces “The Tongsman” – a heroic term coined by Bill and Todd. To help capture the spirit of the South, the campaign was shot in Atlanta. “Even though we focused on the grill and the sausages, we wanted the spots to come across as authentically Southern, and the Georgia landscape added to that feeling,” said Todd Tucker, Bill and Todd art director.

In moody, smoke-filled film, the campaign introduces The Tongsman, a true artisan of the game day smokeshow whose mindset and skillset go far beyond that of a mere “griller.” Most important, they never, ever forget the oft-overlooked sausage. “Johnsonville is the Official Sausage of the SEC,” said the campaign’s writer, Bill Milkereit. “Hold Fast and Johnsonville wanted to find a creative team that truly understands tailgating culture in the South – because it is unlike anywhere else on the planet – and we are delighted that David Dugan (founder of Hold Fast) and Chris Jacobs (creative director/consultant of Hold Fast) found us.”

Dugan’s choice was founded on industry recommendations and the outstanding creative work Milkereit and Tucker have done together for Chick-fil-A, The Home Depot, and especially the SEC’s “It Just Means More” campaign. Much of which was also through charlieuniformtango.

“This whole project is a great example of the new world order: Pulling together seasoned talent from different mediums to work together to build a client’s brand with a smaller, more nimble team,” said Milkereit. “With this new kind of team formation, frankly, we didn’t know the protocols or how much control we as creative free agents could have throughout the production process, but we knew we wanted charlieuniformtango in the mix,” said Tucker. “We’ve been in the foxhole with tango many times over the last 20 years, and we know they always go off the charts to get the job done right. Whether it’s spec work or a SuperBowl spot, there’s no difference in their level of commitment. This campaign involved a lot of back and forth and late nights. We couldn’t have picked better teammates.”

The tango team included Russell Smith’s audio engineering talent and Deedle LaCour’s editing skills. “In short, it’s some of my favorite work in years. It’s also a full circle thing for me as I cut my editorial teeth on another famous breakfast sausage brand when I first started at tango. I got a little obsessed with sausage after that,” Deedle said.

 


Credits:

Client: Johnsonville Sausage

Agency Credits:
Agency: Hold Fast
Executive Creative Director: Chris Jacobs
Creative Director/Writer: Bill Milkereit
Creative Director/Art Director: Todd Tucker
Director: James Mann
Agency Production: Shelley Gauthier & Timm Gable (Allies & Co)
PR/Influencer Management: April Voris
Account Management: David Dugan
Music: Krol Scharber

charlieuniformtango:
Deedle LaCour, Editor
Joey Waldrip, Flame Artist
Russell Smith, Audio
Michael Wagner, Producer
Cole Conci, Assistant Editor
Lan Freedman and Ben Hoffman, “Calling All Tongsman” tagline filming

 


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Editor  / Production
Check out a Fun and Wonderful Q&A with Nametag’s Newest Editor, Agnes Calka
Nametag Films Posted On September 27, 2021


Agnes Calka, Editor, Nametag Films

How do you know when you’ve aced a project?

My gut reaction is to respond with something along the lines of “glowing client feedback” and call it a day, but it really boils down to whether or not I’ve met my own expectations. I’ll admit that it’s rare for those two roads to cross, because the way I see it – I could’ve always done better. But I guess I’ll settle for that glowing feedback in the meantime…

How do you stay up-to-date on current tech and trends?

Beyond glancing at a couple of daily tech headlines in my news aggregator, I try not to obsess over what’s next. You can completely immerse yourself in the latest news for tech and trends in the video world, but then you’ll run out of hours in the day. I’m not out to chase after the future, or even the “right now,” because storytelling is bigger than the software and hardware at hand. Adaptation doesn’t always mean tripping over yourself to grab the latest and greatest rig; it usually involves being resourceful.

If you were to offer me the choice of the newest $50K video rig versus a 1960s 50mm Pentax Super-Takumar f/1.4 adapted to my outdated Sony mirrorless, I’m walking away with that Super-Tac. There’s a certain charm and look that modern equipment just can’t replicate, and working with fully manual vintage lenses gives you a deeper reign over what you create. So if you brag about your new camera having a maximum ISO so large that you can properly expose an entire city with a single candle at night, you’re getting a GIF of Tommy Lee Jones declaring “I don’t care” from The Fugitive in return. 

Who would be your dream client?

He’s no longer just a dream, and we’re already working on our own passion projects in the background. (Sorry, Keanu.)

What’s your top video editing software?

Premiere and I have an ongoing love-hate relationship. My first serious ex, Final Cut Pro, became too desperate to stay young and hip, all the while losing his down-to-earth charm. And don’t get me started on my very brief affair with Avid Media Composer – someone set us up on a blind date – he was too old for me, and utterly unwilling to embrace change. Lately, I’ve been flirting with DaVinci Resolve Studio, so we’ll see where that goes… 

What’s the biggest technical challenge you’ve ever faced? How did you overcome it?

“You think codecs are your ally? You merely adopted the encoding software. I was born in it, molded by it…”

What sits behind me is a decade of “what if” scenarios that I’ve eagerly overcome. Maybe this is how moms feel; like, by the time you’ve had your third kid, you’re Wonder Woman and nothing scares you anymore. Yeah, it’s a lot like that. If there’s anything I find satisfaction in doing, it’s solving problems… and playing the MacGyver theme in my head while I do it. 

How do you present to clients or stakeholders?

While I’ll be the first to admit that I prefer working with machines over people – I’m a textbook INTJ, after all – I’m well aware of the importance of establishing a positive, memorable working relationship. As a client, you can expect a rustic, Slavic recipe of courtesy, sharp wit, perfectly-timed movie references, creativity, and the technical know-how to accomplish your vision. I will do all I possibly can to set you up for success, but I won’t coddle you.

What would you do if your most important client hated your work?

Wake up, check the clock, and attempt to go back to sleep again.

“Oh no! Anyway…”

Fine, let’s say that in some wild parallel universe, that scenario became a reality. On the one hand, I’d go out of my way to identify the lapse in communication, reevaluate their initial concept, and do everything in my power to make things right. On the other hand, Kenny Rogers can take it from here: “You’ve got to know when to hold ’em. Know when to fold ’em. Know when to walk away, and know when to run.” No matter how consistent and dependable you are, there will come a point at which you’ll encounter your very own “Karen” in the wild. And, well, what’s that Bible verse about dusting off your sandals…? 

What does a successful project look like?

Ultimately, what matters most is the final delivery; whatever hiccups happen behind the scenes, if any, on the way to that destination, are teaching points for the future. So a successful project is really a combination of internal growth and a polished product that exceeds the client’s expectations.

Which of your work samples do you consider to be your best work?

The best is yet to come.

Who has influenced you most when it comes to how you approach your work?

When I was a kid, my dad could build a tractor from spare parts, fix just about anything that was broken, and fabricate custom tools to get the job done. So my penchant for tinkering with both hardware and software is largely due to my early mimicry of him. And our nature walks – long before I could waddle around on my own – instilled a sense of curiosity and urge to explore. Much of my childhood was spent taking apart toys and electronics just to put them back together again. I even had a phase where I’d buy flat-pack furniture simply for the thrill of assembling it. I needed to understand how the world worked, one Furby and coffee table at a time. If anyone’s shown me what honest, precise work is, it’s Dad. 

What behavior or personality trait do you most attribute your success to, and why?

Preparedness immediately comes to mind. A proverbial tornado could touch down, but you’d still find me zeroed-in on the main objectives, all the while dispensing advice to anyone panicking around me. If there’s anything I can do ahead of time on a project, I absolutely will, because that’s when I’m in my prime to tackle the surprises that can – and often will – arise. Expect the best, but still plan for the worst.


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Production  / Production Company
Equilateral Wraps Summer with New Work for Choctaw and GameStop | Adds New Editor Max Smith
Equilateral Posted On September 8, 2021


Equilateral is having a busy summer, creating eye-catching spots, images and videos for a few of their favorite ad agency clients.

The Richards Group recently hired director Roger Peters of Equilateral to not only capture the artwork of four Choctaw Nation artists, but also to explore their fundamental creative nature. In the videos, each artist shares their creative vision and demonstrates crafting their art. 

“We could immediately tell that Roger and the whole Equilateral team had a passion for this project when we first started discussing it with them. Roger dove in and brought his insightful perspective and his passion for art throughout the process. Our team and our clients are thrilled with how this work turned out.” 

– Clint Carter, Creative Group Head/Writer, The Richards Group

 

Additionally, Dallas-based ad agency, Fortunato, tapped Equilateral to shoot over 200 E- Comm and 15 lifestyle images plus a brand video for the new GameStop line of gaming accessories called Atrix. The images and videos highlight, in striking detail, the design and gaming enhancement features of the products.

“Equilateral was the perfect partner for this project. Their attention to the craft was instrumental in bringing out every detail of the Atrix line of products. Not only that, the film and photography quality really helped elevate the brand and all of the products.”

–Rodrigo Maycotte, Co-Founder & Creative Director, Fortunato 

Equilateral is also happy to announce that Max Smith has joined their team as Editor. He brings extensive experience, his editorial style is focused and collaborative, and he brings great energy and positive vibes to the editing console. 

Check out his reel.

Max Smith | Editor, Equilateral

To start your next project with Equilateral, reach out to Executive Producer Jessica Cramer, jessica@equilateralfilms.com.


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Editor  / Production
Multi-Cultural Editor Jesus Yanez Lands at Treehouse Edit
Treehouse Editorial Posted On August 16, 2021


Treehouse Edit’s retooling process continues with the addition of the versatile editor Jesus Yanez to its roster. Yanez, who’s had a flourishing freelance career prior to his signing, brings a talent for upbeat messaging, humor, music and lifestyle work to the post production boutique. His signing was announced by Treehouse Executive Producer Jeremy Besser. To view his reel, go here.

Yanez, who was born in the Mexican border town of Ciudad Juárez, came to post production from a freelance career as an agency creative, working as a copywriter and ACD for a variety of agencies in New York, Dallas and L.A. In between agency assignments he was also writing and directing his own short films and music videos, a passion that turned into a vocation when he began to be asked by clients and agencies to shoot and edit assignments for brands.

Working now as a full time editor, he has cut Hispanic and general market spots and campaigns for such brands as McDonald’s, Tecate, Honda, MetroPCS, Bimbo, Coca Cola, AutoZone, Huawei, Sling/Dish and many more.

“Jesus is a well-regarded and exceptionally versatile talent whose background in directing and agency creative all help shape his work and his approach as an editor,” says Besser. “That he’s able to easily move back and forth between the Hispanic and general markets is a boost, particularly here in the Texas market. We’re delighted he’s joining our roster and look forward to helping build on what he’s accomplished so far in his career.”

Yanez says he’s signing with Treehouse to broaden his client exposure and attract bigger, more complex projects while still being able to pursue his outside interests in filmmaking. “This is a great opportunity for me to take my editorial work to another level while providing me with the flexibility people are looking for these days,” he says. “While I enjoyed my time working on the agency side, I’ve always felt that production and post were my greatest passion. By signing with Treehouse, I’m able to bring all of these interests and experiences together. So it’s a smart move all around.”

And if that’s not enough creative expression for Yanez, there’s also the band; he’s been playing in one, on and off, since he was a teenager, and says that along with editing and directing, music is a passion as well.

“I played a lot more when I was younger,” Yanez adds with a laugh, noting that he performed on guitar, drums and vocals, “and while I’m still in a group, we don’t get a chance to play together that often.” Perhaps he should – a band he was in was nominated for an MTV Video Music Award in 2013.

For more information on Treehouse Edit, contact Executive Producer Jeremy Besser at 214-754-8004, or at jeremyb@treehouseedit.com. The company is represented by Alyson Griffith of AG Represents; contact her at 214-288-2813 or at alyson@agrepresents.com.


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Director  / Editor  / Production
Republic Editorial Bolsters Offerings with Additions of Flame Artist/Colorist, Bryan Bayley, and Creative Editor, Shaddai Berron
Republic Posted On July 19, 2021


Republic Editorial  announces the addition of seasoned Flame Artist / Colorist Bryan Bayley and Creative Editor Shaddai Berron. The two joined the team in early summer and have already collaborated on several projects, including a recent campaign for Dolce & Gabbana featuring DJ Khalid and PJ Tucker.

A skilled technical and creative artist, Bayley brings his years of experience working on high-profile brands such as Home Depot, Ram Trucks, Coors and Toyota to Republic. He was most recently the lead Flame Artist at across town shop Treehouse Editorial, a shop which he was instrumental in launching back in 2012. Prior to that, Bayley helped Dallas based Reel FX / Radium grow their commercial divisions, in addition to working on music videos, feature films, special attractions and branching into AR/VR. In 2011, he worked on Katy Perry’s “Firework” which won the MTV Video Music Award for video of the year.

“Bryan is the ideal artist to add to our expanding Finishing team right now,” explains Republic Partner and Senior Editor, Chris Gipson. “Not only does he have the experience and talent to run any project solo, but he also thrives in a collaborative environment, working well with the other artists on our team.“ Bayley joins Republic’s other Flame Artist & Colorist, Nick Mueth, in heading up their Finishing department.

“I’d only heard great things about Republic since it’s partners bought out Red Car back in 2013,“ says Bayley. “Their continued growth in recent years with the addition of sister company Infinite Fiction for design and Threaded Pictures  for production made a big impact in this town. When I heard about their plans for further expanding their Finishing division, I knew I had an opportunity I couldn’t pass up.”

A native of Dallas, Berron also joins Republic from Treehouse Editorial, where she recently worked her way up from Assistant to Editor in only a few short years. With a fluency in English and Spanish, she’s cultivated a diverse reel of national work for clients ranging from Dr. Pepper to Kia to Home Depot. Whether cutting long format docu-style projects or short-form heavy effects work, ‘Shady’ (as she’s known in town) uses her down to earth personality to create a comfortable collaborative space for creatives to craft their message.

“I’ve been following Shady’s trajectory for a good while now,” says Republic Partner and Senior Editor, Keith James. “In the few short years she’s been editing, she’s proved herself capable of tackling a wide variety of creative projects each with a very distinctive approach. And it goes without saying that with a fluency in Spanish, she’s going to continue to flourish in our market.”

Berron joins Republic’s roster of Editors which includes William Franklin, Chris Gipson, Keith James, Andy McGee and Susan Munro. “Republic has such a strong core of creative talent – it’s just awesome to be considered part of the team,“ Berron explains. “The partners have been super supportive of my vision for growth as an editor, and their addition of Bryan made the transition really smooth for myself and my clients. I feel like I’ve got a home here for years to come.”

To view Republic’s Finishing reel, click here.

To view Bayley’s Color reel, click here.

To view Berron’s Editorial reel, click here.


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Editor  / Production
Lucky’s Sai Selvarajan’s “The Unlikely Fan” To World Premiere At SXSW 21
Lucky Post Posted On March 4, 2021


Immigrant, Texan, retiree and the mother of all b-ball enthusiasts. Meet The Unlikely Fan – a short documentary that blends style, substance, and the artful appreciation of basketball.

Sri Lankan born, Dallas-based, retired teacher….and hoops nut. Meet “The Unlikely Fan,” a basketball enthusiast who definitely doesn’t fit any preconceived image. Lucky Post editor Sai Selvarajan’s, multimedia documentary, one of his most personal projects, will enjoy its World Premiere at SXSW 21 (March 16th at 4pm).

Directed by Selvarajan and Jeff Bednarz, “The Unlikely Fan” is an ode to the power of sport to rally and inspire, to see the art of passing, dribbling, and shooting as balletic, and to share that appreciation with your loved ones. Especially when your loved one is the mother of all b-ball fans.

“As a filmmaker you’re always on the hunt for an interesting angle on the world, and sometimes that perspective is not just close to home, it is home” he reflects. “My mom and I talk on the phone every day and two things we always talk about are my kids and what happened in the NBA the previous night. I think just being around her inspired me to tell this story.”

When it came to creating the short, the filmmaker knew it had to be as colorful as the subject. Leaning into his design background, Selvarajan sought to craft something that felt handmade with love. Like most films, this work was a collective effort, with many people coming together, virtually, to make something even as the world – sporting events included – shut down.

“I’m very grateful for everyone involved and the opportunity to create, even when it felt like the world was just crumbling. I’ll always look back on this film with joy, because of the circumstances in which it was made. But I think you can feel the sense of urgency in the filmmaking, there’s no half stepping by anyone, every move feels bold and confident because they were all in.”

As all in as The Unlikely Fan herself. And that’s saying something.

Credits:
Directed by Sai Selvarajan and Jeff Bednarz
Starring: Gita Selvarajan
Cinematography by Andrew Ryan Shepherd, Mark Thomas, & Judd Myers
Original music composed and performed by Joey Kendall
Edited by Sai Selvarajan
Assistant editors: Alex Histerkamp and Lara Tillotson
Producer: Brandon Tapp
Visual Artists: Matt Wohlrab, Olivia Reneé Saldívar, Trevor Garza, Nicole Marxen-Myers
Sound Mix: Scottie Richardson
Color Correction: Neil Anderson
Effects: Seth Olson and Jake Odgers


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Production
“Coup d’etat Math” Adds Up To Vimeo Staff Pick
Lucky Post Posted On June 10, 2020


In honor of Immigrant Heritage Month, the award-winning short film “Coup d’état Math” directed by Sai Selvarajan has been named Vimeo Staff Pick. The film depicts four immigrant stories — a fight to be born, a fight to survive, a fight to find your place, and the fight to maintain. 

“For filmmakers, Vimeo Staff Pick is an honor on the level of being an official selection at one of the major festivals,” says Sevarajan. “It is incredible to be part of Vimeo’s curated collection of diverse projects, which are seen by people around the world, and even more profound during Immigrant Heritage Month.”

Selvarajan, who immigrated to the US with his family at the age of 9, has developed a body of short film work that speaks to the truth of people that are often misunderstood and underrepresented including “Coup d’etat Math.”

Just as each immigrants’ story is unique, so too is each narrative in Coup d’etat Math. Watercolor paintings were created by Amanda Selvarajan with whom he collaborated on the short film “Sugarless Tea”; longtime friend Olivia Saldivar created the illustrations and wood cuts. Together, with the help of his colleagues at Dallas-based Lucky, where he is an editor, they united four narratives into one including audio with voices from different cultures that provide both distinctiveness and commonalities.

The result demonstrates that the immigrant experience is not singular; it is connected by a fundamental desire to live without fear or persecution, to rise from poverty, and find a sense of belonging.


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Editor  / Motion Graphics
Need a Hollywood Editor at Your Fingertips in DFW? Chris Salters is Here!
Chris Salters Posted On May 7, 2020


Having worked on multi-million dollar theatrical film campaigns like Jurassic World, and built an industry-leading video department from scratch for TCU Athletics, Chris Salters knows a thing or two about video. His diverse experience gives the editorial edge clients need while crafting quality content.

Trained in Hollywood and now cutting branded, commercial, and documentary content in Dallas-Fort Worth, Chris may be your freelance post-production solution. He lives to edit video and excels at motion graphics, compositing, coloring, and finishing.

He’s also a bang up post-supervisor.

Specialties include but are not limited to:

– Video Editing (Premiere Pro, Avid, DaVinci Resolve)
– Motion Graphics
– Compositing
– Color Correction
– Post-Producing

Watch Chris’s Reel…

A side note: he drinks way too much coffee and loves a good beer. When not tearing through edits and tweaking key frames, Chris pretends to be good at mountain biking and casual carpentry.

Contact Chris
chris@chrissalters.com
https://www.linkedin.com/in/chrissalters/
https://www.chrissalters.com/
682.365.4424


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Editor
No Fooling! You Have the Time | Learn Adobe Premiere Pro in This Free Course From Chris Salters
Chris Salters Posted On April 1, 2020


My drive to create this course comes from a frustration of seeing so many gimmicky products marketed on social media to budding editors (flashy effects, transitions, an overabundance of LUTs, etc).  In my opinion these things may add to an edit, but they don’t help serious editors build fundamentals that will land them jobs.

So you want to learn how to edit video?  Great!  Video is so integrated into our society that I personally feel it’s a great skill learn for anyone to learn.  If you find you’re like me and love to edit, it also makes for a fulfilling career.

The end goal for me is to create advanced courses in Premiere and Resolve teaching workflows and concepts that young editors aren’t taught in school, but need in the agency and studio world.

To help get you started on your path, I’ve developed a FREE 10-part course to teach you how to edit video in Adobe Premiere Pro.  Don’t have a Creative Cloud subscription?  No sweat.  Get a free trial of Premiere here.

Take the course.


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